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Nash, John Edward. "Finnegans Wake and readership." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:289958a7-d3a5-426b-ae39-1713dfd9403a.
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The argument of this thesis is that Finnegans Wake is a peculiarly appropriate text for an investigation of the academic discipline of English, and that the issue of readership is the best way to approach the Wake. The thesis, which is organised into three main sections, shows that both Finnegans Wake and the discipline of English Studies are similarly engaged in problems of defining audiences. The opening section shows that the Wake has long been seen as a limit to literature, and as a defining text of literary study. Reception theory proves unable to cope with a study of historical audiences. Finnegans Wake was written over a period roughly concomitant with the rapid professionalisation of English studies and underwent a loss of audiences except for its critical reviewers. The extended third chapter sets out in some detail the growth of English studies, both in itself and more specifically as a context for the name of Joyce in the 1930s and beyond. This also includes analysis of the passage of the Wake in university syllabi. The second section considers post-structuralist claims that the Wake disrupts or subverts the space of the academy. It analyses a wide range of poststructuralist and other reactions to the Wake, and proceeds to a study of inscriptions of readership in the work of Derrida, and explores Derrida's idea of audiences for Joyce. The third section presents two readings of key elements of Finnegans Wake. Analysis of the letters, and of some of Joyce's sources, stresses the important role of the professor figures, which is indicative of the extent to which Joyce's last work was influenced by the professionalisation of literary study. Textual analysis proceeds with the Four, who function as an internal interpretive community. A brief conclusion sums up the argument of the thesis.
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Black, Christopher. "Old Scandinavia in Finnegans wake." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12943.
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This dissertation focusses on James Joyce’s use of Old Norse-Icelandic religion and mythology, as well as writing about pre-Christian Scandinavia, in Finnegans Wake. In the context of studies of the reception of pre-Christian Scandinavia, the Wake is peculiar in its concern with the meaning of the use of the past, as well as its famous difficulty. In the first chapter, which is an examination of these topics, it is shown that the use of the past is central in the dynamic poetics of the Wake. Building on the work of scholars such as Fritz Senn and Daniel Ferrer, it is argued that the key to interpreting Joyce’s use of Old Scandinavia in the Wake is engaging with the obscurity of the language of the text. The second and third chapters analyse Joyce’s use of Old Norse religion and mythology throughout the Wake. Joyce represents Norse mythology as conveying a cyclic conception of time. This ‘Norse cycle’ serves as a myth for the cyclic model of linguistic creation in the Wake, in which destruction, represented by Ragnarök/Ragnarøkkr, and the use of the past play central roles. Joyce’s intricate use of elements of Norse myth tends to fit into the outline of this cycle. The Old Norse gods Loki, Baldr, Óðinn and Þórr are made into manifestations of the male members of the archetypal family of the Wake, the Earwickers. Critics have always asserted that HCE is a ‘Scandinavian’ or of ‘Norse descent,’ and the fourth and fifth chapters analyse the meaning of these assertions in terms of the Wake. It is shown how Joyce built the character of HCE using racial constructs such as the ‘Aryan’ and ‘Nordic’ Scandinavian. It is examined how Joyce used a variety of techniques to blend biological and linguistic creation, providing a distinctive modern insight into the meaning of the reception of pre-Christian Scandinavia.
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Boldrini, Lucia. "In Dante's wake : the Dantean poetics of 'Finnegans Wake'." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35090.
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The thesis investigates how the theories of linguistic and literary composition of Dante's treatises and the poetics of ineffability of the Divine Comedy may be seen to provide the basis for (one of) the poetics of Joyce's Finnegans Wake. The polysemy of Joyce's last novel relies on Dante's literary-exegetical model of the four levels of meaning at the same time as it challenges it so as to show both its inadequacy for the modern literary work and, conversely, how its failings can be turned to the writer's advantage in the production of an original text. The multilingual idiom of the Wake draws from, at the same time as it reshapes, Dante's conception of the history of language and his theory of an illustrious poetic language, and the thesis shows how Joyce exploits these two aspects, turning them into a narrative framework for several episodes of the Wake and thematising their features in order to explore the function of character-roles in connection with the processes of artistic creation. Finally, Joyce's reliance on a pliable language for his evocation of the unfathomable dimension of the "nocturnal world" and of the unconscious is shown to be comparable to the poetics of ineffability that informs Dante's "vision" in the Divine Comedy. In this context, the thesis looks at such issues as silence, vowels / vocalisation, and the use of geometry to express the ineffable and / or the unspeakable. Joyce's use of Dante's works thus involves a constant reflection on the processes of writing and of literary composition as well as on the relationship between a modern writer and his sources, and the intertextual practice of the Wake is shown to be part of the "poetics in progress" that Joyce has been elaborating from his earliest to his last publication.
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Roughley, Alan Robert. "Finnegans wake as a deconstructive text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27520.
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This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination,"
"trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition
that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it.
Drawing on Derrida's investigation of speech and writing, the dissertation
considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical
textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal.
In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Choudhry, Zulfiqar Ali. "Some eastern aspects of Finnegans Wake." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282840.
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The thesis is divided into seven parts. The first part concentrates on the Arabian Nights in Finnegans Wake, drawing attention to Joyce's use of Sir Richard Burton's translation and critical appreciation of the Nights. Beginning with a consideration of Joyce and Yeats's common interests in the Nights, the thesis examines the presence in the Wake of the women of the Nights, Sinbad the Sailor, and two of the tales of the Nights relevant to the character of HCE. The second part of the thesis explores Joyce's assimilation of Hinduism with special emphasis on Madame Blavatsky as his major source. Most of my argument springs out of the Hindu concept of "Sandhya" with which Book IV of the Wake begins. I find "Sandhya" as the point at which the contraries, the temporal and the eternal, merge in Hinduism. The third part, devoted to Islam, looks at the way the life-story of the prophet Mohammed is told in the Wake. Since Joyce refers to the Koran in the Wake, those allusions and names of the surahs are deciphered in detail. The monotheistic doctrine of unity in diversity is emphasised. Joyce's absorption of Persian vocabulary and Zoroastrianism, are discussed in the fourth part. The Conclusion then attempts an overall estimate of Joyce's Eastern interests. The notes and references used in the thesis are stated in the sixth part. Finally, the seventh part consists of three appendices listing additional Eastern vocabulary both in the Wake and the Notebooks together with explanations of more significant words.
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McCreedy, Jonathan. "Narrating sigla: a genetic study of Finnegans Wake." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646852.
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Current textual studies of Finnegans Wake have identified sigla chiefly as notebook shorthand, but this thesis argues that this interpretation has enforced limitations on future research, owing to the lack of significance mere abbreviation has within literary analysis. The thesis aims to free sigla research from this restrictive critical viewpoint and overturn its present state of neglect in Joyce studies. The research studies the James Joyce Archive and uses a genetic approach. However, instead of its analytical focus being on the notebooks (where the majority of sigla are located), it contains case studies of diagrams from the chapter drafts which are designed using sigla shapes. I have shown the functions of three types of sigla: the first are 'static' (which are shown isolated and not in a relationship to any other characters, which would imply movement); the 'kinetic' status of sigla is a different actualisation of static sigla wherein they are presented in relationships with other sigla or in diagrams which imply their movement within a certain space; and finally the 'three dimensional' sigla are sigla which are brought to the status of a diagram on the basis of parallels between the siglum and meanings of the same shape in the tradition of knowledge. To analyse the narrating quality of a siglum, the minimal condition is that at least one character is in the final version of Finnegans Wake and in a draft drawing. This is the starting point wherein comparisons can be made or symmetries can be established. This process of analysis reveals plotlines and shows how sigla can move within the drawing's space. In conclusion, sigla function as elementary plot units, which develop the plot of Finnegans Wake.
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Van, Mierlo Christine. "The apostate's wake : cultures of Irish Catholicism in James Joyce's Finnegans wake." Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594110.
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This project takes a new approach to the treatment of Catholicism in Finnegans Wake, by looking beyond established theological and philosophical readings in order to focus on the intricacies of Joyce's engagement with Irish Catholic culture, c. 1850•1 939. This period accounts for the years of Cardinal Cullen's 'devotional revolution' in Ireland, for the formation of-the deeply conservative and Rome-centred religious culture into which Joyce was born, and for the emergence of a new Irish Catholic state following the Anglo-Irish Treaty of 1921. As my tide suggests, this thesis highlights Joyce's critique of the Church. Adopting a historicist methodology, and drawing upon extensive archival research, I consider how Joyce's sources-both textual and cultural-are transformed through his revolutionary aesthetic into a radical dismantling of Irish Catholic society. Topics considered include the following: the role of the artist-intellectual in the 'new' Ireland, as shown through the portrait of Shem the Penman; the nature and reach of Joyce's devastating anticlerical satire of Shaun; the difficulties faced by unmarried Irish Catholic girls, as embodied by Issy, and the impact of ALP's concerted attack on the material culture of Irish Catholicism, an act that is performed in defence of her husband. The final section of this thesis rums LO the historical complexities of Book IV. It attempts to articulate how ALP's closing monologue can be understood against the backdrop of a new dawn of conservative Irish Catholicism, and in relation to the decline of the Anglicized patriarch HCE.
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Renggli, Gabriel. "Plurality in Finnegans Wake : Joyce with Derrida and Lacan." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12916/.
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The challenge of James Joyce’s final work, Finnegans Wake, is an ethical one, and one whose implications extend far beyond the boundaries of that particular book. Joyce’s dismantling of language is too often dismissed as either a meaningless experiment or else a superficial attribute beneath which we can somehow postulate a “truer” writing that is perfectly straightforward. I argue that taking seriously the strangeness of Finnegans Wake leads to an interaction with alterity. Confronting us with a writing that we can only assimilate insofar as we do violence to its illegibility, Joyce drives a wedge between knowledge and mastery. He forces us to rethink our own position as readers. Ultimately, the Wake requires us to develop modes of interpretation that acknowledge their own status as necessarily incomplete, and that resemble what post-structuralist ethics conceptualises as the questioning of the self in an encounter with the other. This is an exemplification – not a negation – of the workings of knowledge production in virtually all linguistic codes. To examine the hermeneutic critique that Joyce effectively offers, I draw on Derrida’s analyses of the sign and of hospitality, as well as on Lacan’s theorising of the subject’s implication in a symbolic system whose descriptive powers are constitutively insufficient. I conclude that the language (or non-language) of Finnegans Wake represents Joyce’s criticism of the ideal of univocal expression, whilst it also puts to work the very mechanisms that render absolute clarity impossible, achieving a poetics of plurality and of hospitality towards the undecidable. This implementation of multiple meanings has an intrinsic political and ethical dimension, promoting diversity and tolerance.
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Krumsee, Kirstin L. "Joyce, Shakespeare, and paternity in Ulysses and Finnegans wake." Connect to resource, 2007. http://hdl.handle.net/1811/28457.
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Thesis (Honors)--Ohio State University, 2007.<br>Title from first page of PDF file. Document formatted into pages: contains 30 p. Includes bibliographical references (p. 28-30). Available online via Ohio State University's Knowledge Bank.
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Freitas, Luísa Leite Santos de. "O fluir-ricorso e os tempos de Finnegans wake." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17761.
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Dissertação (mestrado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.<br>Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2015-03-02T17:48:56Z
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2014_LuisaLeiteSantosdeFreitas_Parcial.pdf: 846131 bytes, checksum: 7ddcf00b9bdb533416d68f6d2828c2f7 (MD5)<br>Esta dissertação percorre investigações acerca do tempo, tanto como instância narrativa, tanto como conceito de teorias filosóficas, a partir da obra última do escritor irlandês James Joyce (1882-1941), Finnegans wake (1939). O aporte teórico perpassa a fenomenologia e, em especial, a filosofia de Jacques Derrida (1930-2004). O ricorso, termo que provém da obra do filósofo Giambattista Vico (1668-1744), é aqui relido como fluir-ricorso, em uma ampliação das investigações sobre o tempo no Finnegans wake para além da Scienza nuova (1725), seu paradigma central. O tempo como também formador de memória, diacronia coletiva, compartilhada, traz à tona o questionamento da inserção ou exclusão de certos textos no cânone da história da literatura e como esse sistema pôde lidar com as peculiaridades do texto de Finnegans wake, desde a recepção de seus contemporâneos modernistas. Sobre o tempo do próprio texto, suas relações com música e outras artes, outro importante filósofo para o trabalho é Emmanuel Levinas (1906-1995). Lidando com sincronia, diacronia e anacronismo, traçamos as possibilidades de entender o tempo do texto do Wake, com o apoio desses termos como abordados pelo filósofo. Ainda nesse âmbito, é também discutido, em parte deste trabalho, o tempo da tradução — ou seus tempos — e apontadas as traduções brasileiras para o texto de James Joyce. A leitura das traduções é feita sempre no esteio das discussões do tempo, bem como o questionamento sobre o cânone literário e a história da literatura, que partem igualmente dessas noções, passando também por Agostinho, Martin Heidegger e Paul Ricoeur.<br>This dissertation investigates different notions of time, considered as a narrative concept as well as a philosophical concept and center of philosophical theories, from the last work by the Irish author James Joyce (1882-1941), Finnegans wake (1939). The theoretical framework goes through phenomenology and especially the philosophy of Jacques Derrida (1930-2004). The ricorso, term we take from the works of the Italian philosopher Giambattista Vico (1668-1744), is reinterpreted here as a flowing-ricorso, invoking the movement of a river, broadening the investigations on time concerning Finnegans wake beyond what we can see with Scienza nuova (1725), its central paradigm. The notion of time also as a memory, a shared collective diachronic vision, elicits the questioning of the insertion or exclusion of some texts among the canonical ones in the history of literature and how this system can deal with the peculiarities of Finnegans wake, ever since its first reception, by the contemporary modernists. About the time within the text itself, its relations with music and other forms of art, another important philosopher here is Emmanuel Levinas (1906-1995). Dealing with synchronic, diachronic and anachronism, we find the possibilities of understanding the time of the text in the case of Finnegans Wake, with the support of Levinas’ approach of these terms. Still concerning those themes, the time of a translation is also brought to this analysis — or its sundry times — and the different Brazilian translations for James Joyce’s text are indicated. The approach of this analysis of translations is based on the investigation of the concept of time and the questions concerning the literary canon and the history of literature, all of these being connected notions, also reading the works of Agostinho, Martin Heidegger and Paul Ricoeur.
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Conley, Timothy John. "The hoax that joke bilked, sense, nonsense, and Finnegans Wake." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ29487.pdf.
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Crenshaw, Andrew. "The architectural image Finnegans Wake and the text of drawing." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23013.
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Conley, Tim. "The hoax that joke bilked : sense, nonsense, and Finnegans wake." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26682.
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The remarkable challenges Finnegans Wake offers to its readers and to the very process of reading are the results of an evolution of Nonsense literature. Despite the unduly "serious" framework of criticism which has been built up around it, Joyce's anomalous last work is a radical "hoax" upon interpretation. The regular confluences of linguistic deconstruction (via word association as well as recurring word and phrase matrices) and ontological metaphor, developed from authors such as Rabelais, Sterne, and Lewis Carroll, are offered by the Wake as tests to the reader's (qua reader) sensibilities. As Nonsense, Finnegans Wake departs from typified modernist modus operandi (metonymic allusion) and instead explores the limits of metaphor. The stakes of Joyce's hoax are of vital interest to the contemporary student of literature and culture, since the Wake dares the reader to find new meanings rather than to project old ones; to exult its eccentricities and its difference; and all the while to call into question (as the text itself does), its authenticity and authority.
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Fordham, Finn William Montague. "'Languishing hysteria The clou historique?' : Lucia Joyce in 'Finnegans Wake'." Thesis, Birkbeck (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263602.
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Alexandrova, Boriana. "Joyce's deplurabel muttertongues : re-examining the multilingualism of Finnegans Wake." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/16250/.
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The multilingualism of Finnegans Wake has been widely regarded as a feature that makes the text difficult and perplexing, and even inessential to some readers and translators who have chosen to iron it out of their plot summaries and translations. Because the work has a reputation for impenetrability and inaccessibility that at times borders on discursive incoherence, its political value has chiefly been related to its rebellion against linguistic order—specifically the structural, historical, and ideological rule of the British Empire’s primary language, English—rather than its capacity for literary pleasure, inclusivity, and illumination. This project critically complicates established assessments of Joycean multilingualism and develops innovative transdisciplinary approaches to the Wake’s multilingual design in an effort to do scholarly, creative, as well as ethical, justice to the text itself as well as its variously diverse global readership. Chapters 1 and 2 explore the stylistic particularities of the Wake’s multilingual design from the perspective of linguistics and second-language acquisition. These chapters engage with the poetic materiality of Wakese and explore the role of readers’ diverse and variable accents, creative choices, multilingual repertoires, and overall cultural, subjective, and bodily singularities in the text’s capacity to generate multiple semantic and narrative layers. Chapter 1 tests the various material aspects of Wakean multilingualism, including but not limited to phonology, considering the various creative effects of embodied readerly engagement with it. It demonstrates that multilingualism is not only a tool for productive linguistic estrangement but also enables a peculiarly intimate access into the language of Joyce’s text. Chapter 2 focuses more specifically on the Wake’s multivalent stylistic uses of inter- and intralingual phonologies, beginning with an exploration of the soundscapes, phonotactics, and cultural signifiers of different languages, such as Russian, Swahili, German, and Irish English, and moving onto the book’s internal, fictionalised multilingual system of sound-symbolism, materialised through phonological patterning and the “phonological signatures” of archetypal characters such as ALP and Issy. While the first two chapters explore how the multilingual text operates across different reading spaces and bodies, chapter 3 looks at how translators engage with it in their capacity as readers and (re)writers. I discuss how Wakean multilingualism challenges assimilative and corrective methods of translation and how the act of linguistic transfer inevitably triggers a cultural and material transformation as well. My case studies in this chapter are the two most important Russian translations of the Wake, which are virtually unknown in Anglophone Joyce scholarship. I place the Russian translations in a Western scholarly context, assessing their translatorial methodologies in relation to other important projects of Wake translation and exploring how they handle its multilingual design, considering the particular effects of transposing the text not only from an Anglophone to a Russophone linguistic and cultural space but also from Roman into Cyrillic script. Finally, in chapter 4, I argue that the Wake’s multilingualism, as a performative literary manifestation and invitation to difference, variability, and changeability, makes it an intrinsically ethical text: its political value simultaneously honours its Irish postcolonial heritage and has a global historical and multicultural reach. The chapter engages with concepts from feminist, queer, and disability theorists towards the development of new theoretical approaches to the political and ethical value of Wakean multilingualism in a contemporary global context.
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Esteves, Lenita Maria Rimoli. "A (im)possivel tradução de Finnegans Wake : uma investigação psicanalitica." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271093.
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Previous issue date: 1999<br>Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano,
uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se
demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas
duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido<br>Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans
Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other
operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other
operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense<br>Doutorado<br>Doutor em Linguística
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McMorran, Ciaran. "Geometry and topography in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7385/.
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Following the development of non-Euclidean geometries from the mid-nineteenth century onwards, Euclid’s system had come to be re-conceived as a language for describing reality rather than a set of transcendental laws. As Henri Poincaré famously put it, ‘[i]f several geometries are possible, is it certain that our geometry [...] is true?’. By examining Joyce’s linguistic play and conceptual engagement with ground-breaking geometric constructs in Ulysses and Finnegans Wake, this thesis explores how his topographical writing of place encapsulates a common crisis between geometric and linguistic modes of representation within the context of modernity. More specifically, it investigates how Joyce presents Euclidean geometry and its topographical applications as languages, rather than ideally objective systems, for describing visual reality; and how, conversely, he employs language figuratively to emulate the systems by which the world is commonly visualised. With reference to his early readings of Giordano Bruno, Henri Poincaré and other critics of the Euclidean tradition, it investigates how Joyce’s obsession with measuring and mapping space throughout his works enters into his more developed reflections on the codification of visual signs in Finnegans Wake. In particular, this thesis sheds new light on Joyce’s developing fascination with the ‘geometry of language’ practised by Bruno, whose massive influence on Joyce is often assumed to exist in Joyce studies yet is rarely explored in any great detail.
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Cahill, Clinton Barry. "Drawing the wake : how might illustrative drawing contribute a valid alternative reading of 'Finnegans Wake'?" Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/620999/.
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The practical aspect of this research and this supporting commentary are intended to contribute to the understanding of James Joyce’s Finnegans Wake by applying a method of reading that incorporates drawing as a means of recording subjective visualimaginative responses to the text. The commentary provides a contextualised account of practical inquiry written from the perspective of a visual practitioner. The practical methodology involved annotated reading and mapping, and systematic observation and recording, through written notes and drawing, of visual impressions provoked in the reader. The primary source for the research was the subjective experience of reading documented in, and through, drawing practice. The project applies a conception of ‘illustrative drawing’ through a method of ‘reading-through-drawing’. Material outcomes and the experience of reading Finnegans Wake are discussed in terms of internal and external proximity to the text, privacy, silence, bodies, space, occupation, exchange, enactment and mimesis. The project is intended to contribute to the critical study of drawing as a means of illustration, to the visualisation of literature and its functions, and the relationship of these to the experience of reading. The illustrative intention of the research is in exposing the immediate effect of Finnegans Wake on the visual imagination in the moment of reading, tracing the manner of its occurrence and making this evident to others. The project demonstrates the integration of drawing into the work of reading a complex literary text. It also demonstrates how the reader’s endurance can be made visible in the accumulated trace of a reading practice that addresses and transforms the text by which it is fascinated and to which it returns. The project is situated within the broad historical and critical context of Wake studies and aligned with readings and illustrative visual responses to the text from outside literary scholarship. Its methodology is informed by phenomenological studies in reading and in drawing, and is applied through a qualitative methodology of reflexive, reflective illustrative drawing practice. It proposes that the body of practice can be viewed conclusively as inconclusive, drawn not in finality but as outcome, to date, of an illustrative drawing practice and pertinent method of inquiry into Finnegans Wake. It makes visible the co-production of contingent meanings by text and reader as an extrusion or extension of the literary work into distributed images.
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Clark, Hilary Anne. "The idea of a fictional encyclopaedia : Finnegans wake, Paradis, the Cantos." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25575.
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This study concerns itself with the phenomenon of literary encyclopaedism, as especially evident in James Joyce's Finnegans Wake, Philippe Sollers' Paradis and Ezra Pound's Cantos. The study focuses on developing the notion of an encyclopaedic literary mode and on establishing the existence of a genre of fictional encyclopaedias. It finds an encyclopaedic mode in literature to be one comprehending and imitating other literary modes, both mimetic and didactic. Further, the idea of a fictional encyclopaedia is developed through an understanding of the traits of the neighbouring forms of essay, Menippean satire and epic, and through an understanding of the paradoxes associated with the making of the non-fictional encyclopaedia.
The fictional encyclopaedia thus comprehends and exceeds the following traits:
1. A tension, characteristic of the essay, between integrated autobiography and impersonal (and ultimately fragmented) exposition of the categories of knowledge.
2. A tension, characteristic of the Menippean satire, between tale and digression, between a single narrating subject and a multiplicity of transient narrating voices. The menippea also contributes a simultaneous preoccupation with the most sacred and the most profane subjects. 3. A totalizing drive characteristic of the epic, a desire--rivalling the urge to tell a story--to list or include all aspects of the culture in the epic past. The fictional encyclopaedia also translates into fiction the following paradoxes associated with the encyclopaedic enterprise:
1. The recognition, implicit in the drive to trace a complete and eternally-perfect circle of the arts and sciences, that encyclopaedic knowledge is always ultimately incomplete and obsolete.
2. The recognition, at the heart of the attempt to produce an objective and unmediated picture of the world, that encyclopaedic knowledge is ideologically shaped and textually mediated.
The dominance of the encyclopaedic gesture in Finnegans Wake, Paradis and the Cantos allows us to account for the characteristic length, obscurity and "bookishness" of these works; they absorb the traits and tensions of essay, Menippean satire and epic while yet exceeding these traits in their fictional translation of the encyclopaedic paradoxes noted above. This translation manifests itself in each work as a characteristic parodic hesitation before the authority of totalizing predecessors; it manifests itself in the texts' fascination with images of a paradisiacal completion and timelessness, a tendency that is undercut by a repetitive, digressive or fragmented form which asserts the inevitability of time and incompletion. Further, the Wake, Paradis and the Cantos, in their overt and extensive intertextual activity, emphasize the textual boundaries of encyclopaedic knowledge. Nonetheless, in their foregrounding and valorization of speech rhythms, the works also repeat the challenge that the encyclopaedia brings to its own limited nature as written book.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Valtat, Jean-Christophe. "Culture et figures de la relativité Le Temps retrouvé, Finnegans Wake /." Paris : H. Champion, 2004. http://catalogue.bnf.fr/ark:/12148/cb39145153p.
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Evans, S. D. "Some aspects of the sound and sense of James Joyce's 'Finnegans Wake'." Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375726.
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Evans, Oliver Rory Thomas. "'What can't be coded can be decoded' : reading, writing, performing 'Finnegans Wake'." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/198/.
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This thesis examines the ways in which performances of James Joyce’s Finnegans Wake (1939) navigate the boundary between reading and writing. I consider the extent to which performances enact alternative readings of Finnegans Wake, challenging notions of competence and understanding; and by viewing performance as a form of writing I ask whether Joyce’s composition process can be remembered by its recomposition into new performances. These perspectives raise questions about authority and archivisation, and I argue that performances of Finnegans Wake challenge hierarchical and institutional forms of interpretation. By appropriating Joyce’s text through different methodologies of reading and writing I argue that these performances come into contact with a community of ghosts and traces which haunt its composition. In chapter one I argue that performance played an important role in the composition and early critical reception of Finnegans Wake and conduct an overview of various performances which challenge the notion of a ‘Joycean competence’ or encounter the text through radical recompositions of its material. In chapter two I discuss Mary Manning’s The Voice of Shem (1955) and find that its theatrical reassembling of the text served as a competent reading of the Wake’s form as an alternative to contemporary studies of the book, and that its specific ‘redistribution’ of the text accessed affective and genetic elements that were yet to be explored in Joyce scholarship. In chapter three I consider several decompositions of the Wake by John Cage (1975-1983) and find that by paying attention to the materiality of the book rather than its ‘plot’ or ‘meaning’ his performances reencountered the work concealed in Finnegans Wake’s composition. In chapter four, I document and analyse my own performance, About That Original Hen (2014), a ‘research-as-performance’ lecture which re-enacts a visit to the James Joyce Archive. By reconfiguring Finnegans Wake in relation to a marginal figure from its composition process and a contemporary act of protest within the university, this performance explores how a diachronic re-animation of archival materials can engage with the ghosts which haunt its composition and enact a political reading of the text’s production and subsequent archivisation. I conclude the thesis by arguing that these performances repeat the contingencies, misreadings and appropriations and collective acts of reading and writing that were integral to the composition of Finnegans Wake.
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Valtat, Jean-Christophe. "Les figures de la relativité dans "Le temps retrouvé" et "Finnegans wake"." Paris 3, 2000. http://www.theses.fr/2000PA030062.
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Proust et joyce souvent ete compares a einstein et leurs oeuvres rapprochees de la theorie de la relativite. Ce travail affirme la possibilite d'un tel rapprochement dans un contexte ou l'auto-definition "paradigmatique" des avant-gardes par rapport a la science, la mediatisation croissante de la science comme la litterature, les modifications profondes apportees par l'objet technique dans les conceptions de l'espace et du temps faisaient de la relativite un lieu commun, et un symbole a la fois d'une nouveaute revolutionnaire et d'une crise de la representation. Ainsi le theorie apparait chez proust et chez joyce comme moment de leur strategie litteraire et, dans leurs oeuvres, soit qu'elles la prefigure (proust) soit qu'elles la refigure (joyce) comme un modele de representations des paradoxes de l'espace et du temps - multiplicite, desynchronisations, omnitemporalite, simultaneite - et des deformations complexes du recit.
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Keenan, Sean Eamon. "Fixity and fiction in James Joyce's prose." Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326307.
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Rößler, Philipp [Verfasser]. "The Haecceitancy of Reading James Joyce's Finnegans Wake : Ways of Sensemaking / Philipp Rößler." Berlin : Freie Universität Berlin, 2015. http://d-nb.info/1069290130/34.
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Siedenbiedel, Catrin. "Metafiktionalität in Finnegans Wake das Weibliche als Prinzip selbstreflexiven Erzählens bei James Joyce." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2674566&prov=M&dok_var=1&dok_ext=htm.
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Tsoi, Sze-pang Pablo, and 蔡思鵬. "Writing as the Sinthome: Joyce in critical theory : reading Ulysses and Finnegans Wake." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841331.
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Tsoi, Sze-pang Pablo. "Writing as the Sinthome Joyce in critical theory : reading Ulysses and Finnegans Wake /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841331.
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Filho, Afonso Teixeira. "A noite e as vidas de Renatos Avelar: considerações sobre a tradução do primeiro capítulo de FinneganS Wake de James Joyce." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-30072008-103606/.
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Este trabalho discute as implicações do tempo na História, da História no romance e do romance nas vanguardas; trata da crise do romance no início do século XX e da ascensão das vanguardas; relaciona essa crise com a crise do racionalismo que resultará em obras de arte complexas como o livro Finnegans Wake de James Joyce, um livro considerado por muitos como ilegível e que não poderia ser traduzido. Este trabalho considera também que para se traduzir uma obra Finnegans Wake seria necessário, mais do que uma técnica, uma estética da tradução. Partindo de uma estética da tradução, elaboramos um critério específico para a tradução de Finnegans Wake, a qual apresentamos ao final deste trabalho, acompanhada de notas e de um glossário dos termos usados no original e na tradução.<br>This thesis deals with the implications of time in History, History in the novel, and with the novel in the avant gardes. It also examines the crisis of the novel at the beginning of 20th century and the rise of the avant gardes, and relates this crisis to the crisis of rationalism that would result in complex works of art such as Finnegans Wake, believed by many to be unreadable and untranslatable. It then proposes that in order to translate Finnegans Wake a whole aesthetics of translation is necessary in order to express the complex workmanship involved in its creation. Bearing in mind this aesthetics of translation, the thesis then elaborates a specific criterion to translate Finnegans Wake, which is presented in the final section, followed by notes and a glossary of original and translated terms.
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Mathews, Charlene. "Debased, de-Oedipalized, deconstructed: Finnegans Wake and the apotheosis of the postmodern text." Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1060887173.
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Eriksson, Robert. "The Truce, the Old Truce, and Nattonbuff the Truce: A Creative Reading of James Joyce's Finnegans Wake." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-88003.
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James Joyce's Finnegans Wake is known as one of the most difficult texts in all of literature. A one-to-one relationship, however, between a decoding reader and a presenting author is something Finnegans Wake does not incorporate in any traditional sense. Because of the ways in which Joyce manipulates language through assonance and multilingual references, his words are essentially freed from their dictionary definitions and rely instead on connotations. This essay looks at the text from the perspective of a first reading, a look that is then compared to a more 'authoritative' stance found in various glossaries, to see if the information found there takes precedence over the reader's imagination, and if self-made meanings remain 'appropriate' in the face of the explanations. The text is shown to become more of a device with which we produce meaning, rather than a story to which we are only passively listening or otherwise trying to understand. Instead, it celebrates obscure, often contradicting sense relations, which correspond to the dream-like nature of its nocturnal theme. Despite the sheer amount of historical references contained within, the first-time reader can proceed without the many glossaries that have been written on the work, and instead rely on a more creative and less disciplined method of examination. This essay is thus tainted with an inherent contradiction—it questions the transcriptive act epitomized by eager textual scholars set on elucidating the text's difficulties while simultaneously committing that act, but only in order to encourage readers that Finnegans Wake otherwise scares away and to suggest an alternate method of reading. Readers are thereby asked to relieve themselves of their domesticated behavior, and get involved. The difficulty of Finnegans Wake only appears when we read it in terms of conventional understanding, and should instead encourage us into becoming creative users.
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Witen, Michelle Lynn. "Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.
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Miller, Lynette. "The sound of dreams : Toru Takemitsu's Far Calls. Coming, Far! and James Joyce's Finnegans Wake." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21242.
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Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.
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Moffat, Karen Jean. "Dream language in literature : a linguistic approach : the dream language of James Joyce's Finnegans Wake /." Thesis, [Hong Kong] : University of Hong Kong, 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12324103.
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Zhang, Mingming. "Dwelling in dreams a comparative study of "Dream of the Red Chamber" and "Finnegans Wake" /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=0&did=1957365421&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1269372200&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed March 23, 2010). Includes bibliographical references (p. 144-151). Also issued in print.
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Miller, Lynette Elizabeth. "The sound of dreams, toru Takemitsu's "Far Calls. Coming, Far!" and James Joyce's "Finnegans Wake" (Japan, Ireland)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50547.pdf.
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Porter, J. "'From topphole to bottom of the Irish race and world' : Landscape and mysticism in James Joyce's Finnegans Wake." Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375134.
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Skuthorpe, Barret School of English UNSW. "The Artist-God who ???disguides his voice???: a reading of Joseph Campbell???s interpretation of the dreamer of Finnegans Wake." Awarded by:University of New South Wales. School of English, 2006. http://handle.unsw.edu.au/1959.4/30593.
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This thesis is concerned with engaging a critic who has been neglected by his peers in the field of Joyce studies for more than forty years. This critic, Joseph Campbell, is an American scholar more popularly known for his studies in myth. However, he began his intellectual career contributing to a subject that emerged in the early years of the critical reception of Finnegans Wake: that the dream depicted in Joyce???s final masterpiece is dependent on a Dreamer. The neglect Campbell???s work has endured is largely due, this thesis argues, to an inaccurate treatment of his reading of this dream figure. This inaccuracy largely stems from a critic, Clive Hart, who engages with the debate of the Dreamer as an introductory means to demonstrating the ???structural??? theories involved in the Wake. As a minor feature of Hart???s analysis, Campbell???s theory of the Dreamer is identified with another method, one belonging to a fellow American Joycean, Edmund Wilson, a method incongruent with Campbell theories of dream consciousness. Subsequently, Campbell remains an undeveloped scholar within Joyce criticism. To counter Hart???s inaccurate depiction of Campbell, this thesis argues that there is provision in early scholarship to re-evaluate Campbell???s theory of the Dreamer in more developed terms. In this respect, the thesis is divided up into three sections. The first section is a literary review of this early scholarship, demonstrating certain influential strains of thought equivalent to Campbell???s ???metaphoric??? concept of the Dreamer, one that contrasts with the rigid, ???literal??? ideas his work is predominantly identified. The second section examines Campbell???s account in detail and the specific criticism it drew from Hart. Finally, the third section argues that Campbell???s interpretation of the Dreamer is best engaged through an archetypal account of the Dreamer, one that regards the symbols encountered in the Wake through the ???guiding??? features of a mythological concept of the psyche sensitive to the reflexive tendencies of the dream portrayed, Campbell???s ???cosmogonic cycle???.
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Layden, Faith. "La féconde créativité linguistique de James Joyce dans son oeuvre intitulée Finnegans wake et dans la traduction de Philippe Lavergne." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ62365.pdf.
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McGregor, Jamie Alexander. "Myth, Music & Modernism: the Wagnerian dimension in Virginia Woolf's Mrs Dalloway and the waves and James Joyce’s Finnegans Wake." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/77069.
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The study of Wagner's influence on the modernist novel is an established field with clear room for further contributions. Very little of the criticism undertaken to date takes full cognizance of the philosophical content of Wagner's dramas: a revolutionary form of romanticism that calls into question the very nature of the world, its most radical component being Schopenhauer's version of transcendental idealism. The compatibility of this doctrine with Wagner's earlier work, with its already marked privileging of myth over history, enabled his later dramas, consciously influenced by Schopenhauer, to crown a body of work greater than the sum of its parts. In works by Virginia Woolf and James Joyce, the "translation" of Wagnerian ideas into novelistic form demonstrates how they might be applied in "real life". In Mrs Dalloway, the figure of Septimus can be read as partly modelled on Wagner's heroes Siegfried and Tristan, two outstanding examples of the opposing heroic types found throughout his oeuvre, whose contrasting attributes are fused in Septimus's bipolar personality. The Wagnerian pattern also throws light on Septimus's transcendental "relationship" with a woman he does not even know, and on the implied noumenal identity of seemingly isolated individuals. In The Waves, the allusions to both Parsifal and the Ring need to be reconsidered in light of the fact that these works' heroes are all but identical (a fact overlooked in previous criticism); as Wagner's solar hero par excellence, Siegfried is central to the novel's cyclical symbolism. The Waves also revisits the question of identity but in a more cosmic context – the metaphysical unity of everything. In Finnegans Wake, the symbolism of the cosmic cycle is again related to the Ring, as are Wagner's two heroic types to the Shem / Shaun opposition (the Joyce / Woolf parallels here have also been overlooked in criticism to date). All three texts reveal a fascination with the two contrasting faces of a Wagnerian hero who embodies the dual nature of reality, mirroring in himself the eternal rise and fall of world history and, beyond them, the timeless stasis of myth.
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Cormack, Alistair. "Yeats and Joyce : cyclical theories of history and the reprobate tradition of Irish idealism in Ulysses, A Vision and Finnegans Wake." Thesis, University of East Anglia, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405348.
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MacQuarrie, Charles William. "The waves of Manannán : a study of the literary representations of Manannán mac Lir from Immram Brain (c. 700) to Finnegans Wake (1939) /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9348.
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Engelhart, Bernd. ""Breeder to sweatoslaves" Form und Funktion des slawischen Wortmaterials in Joyces Work in Progress ; ein Beitrag zur Genese und Genetik von Finnegans Wake /." Trier : WVR, Wissenschaftlicher Verlag, 2002. http://catalog.hathitrust.org/api/volumes/oclc/50738566.html.
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Bartnicki, Krzysztof [Verfasser], Dirk [Gutachter] Vanderbeke, and Felix [Gutachter] Sprang. "Finnegans Wake as a system of knowledge without primitive terms : proposal against the paradigm of competence in the so-called Joyce industry / Krzysztof Bartnicki ; Gutachter: Dirk Vanderbeke, Felix Sprang." Jena : Friedrich-Schiller-Universität Jena, 2021. http://d-nb.info/1238141900/34.
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Cascio, Davide. "Acéphale : la construction de l’œuvre, son squelette et son échafaudage." Thesis, Paris Sciences et Lettres (ComUE), 2019. https://tel.archives-ouvertes.fr/tel-02631843.
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« Nos œuvres (...) ne sont pas enfermées dans les limites d’un début (le chef) et d’une fin (la queue) » Georges Didi-Huberman, Sur le fil, p. 13, Les éditions de Minuit, Paris, 2013.Des fragments hétérogènes et chaotiques se tissent (mais je pourrais aussi parler de collage) jusqu’à recomposer un nouveau récit pluriel fait d’articulations multiples. A l’intérieur de ce tissage, l’œuvre est toujours à l’œuvre.La construction de l’œuvre est une reconstruction Acéphale (sans modèle) sans un début, (sans tête), (on reconstruit en utilisant des fragments que ne proviennent pas d’un tout. On ne cherche pas à finir une forme, (re-constituer une forme finie, fermée) ou à enfermer la forme, mais plutôt à l’ouvrir en des directions irradiantes.Ce texte n’est pas composé de chapitres mais de quatre « Topiques » (thèmes valises), qui peuvent être lus indépendamment les uns des autres. Leur rédaction est essentiellement fragmentaire et permet au lecteur dans une certaine mesure de dé-construire sa propre logique de lecture. Dépourvus de numération de pages (la numération en pied de page est présente exclusivement dans le texte introductif, Acéphale) et d’ordre chronologique, les « Topiques » peuvent s’entrelacer<br>The subject of this text is the work construction process. “Certain works are not enclosed within the limits of a beginning and end”. Their “construction process” (their weaving) becomes the work itself. This work can be called “work in progress” or palimpsest.The discontinuity between two words (between two points of view) generates fragments (elements which are not cut out of a whole, but which are monads, fragments and unity at the same time), between these fragments there exists a void, (this void both separates and reunites) the form of this void is that of a deep hollow, a fault, a gap between two Subjects (this gap is itself the difference the absolute internal difference), this hollow, this void is the place of chaos. We are in a deep hollow (the place of the work), we descend into this empty gap (into this esoteric space, a deeply hidden space which is invisible on the surface) to observe the work. (We observe the work as it is being made, in motion)
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Gordon, Anna Margaretha. "A Reassessment of James Joyce's Female Characters." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2705.pdf.
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Gearey, Adam David. "In the wake of the law : law and ethics in Finnegan's Wake." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286731.
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Miller, Daniel Quentin. "Narrative Theory and James Joyce's "Finnegan's Wake": Voice and Self-Narration in "Night Lessons"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625593.
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Vichnar, David. "L'Avant-postman : James Joyce, L'avant-garde et le postmoderne." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.
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La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »<br>The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”
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"The killing letter, or, The presence of the "Kells" manuscript in "Finnegans Wake"." Tulane University, 2003.
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The leaves of the Kells manuscript retain an important place in the Wake, performing a vital role in the key given to the reader to unlock not only Joyce's work, but any text requiring the reader to consider the innumerable layers of significance present in the most accomplished forms of communication. The text by nature of its definition, being ineffable, cannot be expressed in any more reductive fashion than the complex design-motif which merely directs the reader toward the sacred, inclusive of its delineation here. What lies beneath the text, once the reader has traveled through the language and its form, resists the chosen medium with which Finnegans Wake and the Book of Kells require to communicate: yet, the sacred text, in either a spiritual or literary state of reverence, may only express the margins of meaning where the real significance remains profound and ineffable<br>acase@tulane.edu